Blog

- 13th Floor Elevators, The psychedelic sounds of 13th Floor Elevators (Sunspots, 1966);
- MC5, Kick out the jams (Wrong, 1969);
- Adriano Correia de Oliveira, O canto e as armas (Orfeu, 1969);
- Afterglow, Afterglow (Sundazed, 1968);
- Al Wilson, Searching for the dolphins (Soul City, 1969);
- Alexander "Skip" Spence, Oar (Sundazed, 1969);
- Amon Düül II, Phallus Dei (Liberty, 1969);
- Andrew Hill, Point of departure (Blue Note, 1964);
- Andromeda, Andromeda (Angel Air, 1969);
- António Carlos Jobim, Wave (Polygram, 1967);
- Arcadium, Breathe awhile (Akarma, 1969);
- Archie Shepp, Kwanza (Impulse, 1969);
- Argent, Argent (BSO, 1969);
- Art, Supernatural fairy tales (Fontana, 1969);
- Art Blakey and The Jazz Messengers, A night in Tunisia (EMI, 1960);
- Arthur Brown, The crazy world of Arthur Brown (Polydor, 1967);
- Arzachel, Arzachel (Akarma, 1969);
- The Association, Renaissance (Collectors’ Choice Music, 1967);
- Astrud Gilberto, Beach samba (Verve, 1967);
- Bakerloo, Bakerloo (Akarma, 1969);
- The Band, Music from big pink (Capitol, 1968);
- The Band, The Band (Toshiba, 1969);
- The Battered Ornaments, A meal we can shake hands with in the dark (Repertoire, 1969);
- The Beach Boys, Surfin' safari (Capitol, 1962);
- The Beach Boys, Surfer girl (Capitol, 1963);
- The Beach Boys, Little deuce coupe (Capitol, 1963);
- The Beach Boys, Today (Capitol, 1965);
- The Beach Boys, Pet sounds (Capitol, 1966);
- The Beach Boys, Smiley smile (Capitol, 1967);
- The Beach Boys, Wild honey (Capitol, 1968);
- The Beach Boys, Friends (Capitol, 1968);
- The Beach Boys, 20/20 (Capitol, 1969);
- The Beatles, A hard day’s night (Parlophone, 1964);
- The Beatles, Help! (Parlophone, 1965);
- The Beatles, Rubber soul (Parlophone, 1965);
- The Beatles, Revolver (Parlophone, 1966);
- The Beatles, Sgt.Pepper's Lonely Hearts Club Band (EMIv);
- The Beatles, Magical mystery tour (EMI, 1967);
- The Beatles, The Beatles (Apple, 1968);
- The Beatles, Abbey Road (Apple, 1969);
- Bee Gees, First (RSO, 1967);
- Bee Gees, Horizontal (Polydor, 1968);
- Bee Gees, Odessa (Polydor, 1969);
- Bert Jansch, Bert Jansch (Transatlantic, 1965);
- Big Brother & The Holding Company, Cheap thrills (Columbia, 1968);
- Bill Evans Trio, Sunday at the Village Vanguard (Riverside, 1961);
- Bill Evans Trio, Waltz for Debby (Riverside, 1961);
- Billy Nicholls, Would you believe (Castle, 1968);
- Blind Faith, Blind Faith (Polydor, 1969);
- Blodwyn Pig, Ahead rings out (BGO, 1969);
- Blonde on Blonde, Contrasts (Sanctuary, 1969);
- Blood, Sweat & Tears, Child is father to the man (Columbia, 1968);
- Blood, Sweat & Tears, Blood, Sweat & Tears (Columbia, 1969);
- Blue Cheer, Vincebus eruptum (Universal, 1967);
- Blue Cheer, New! Improved! (Akarma, 1969);
- Blue Mitchell, The thing to do (Blue Note, 1964);
- The Blues Magoos, Psychedelic lollipop (Repertoire, 1966);
- Bob Dylan, Bob Dylan (Columbia, 1962);
- Bob Dylan, The freewheelin´ Bob Dylan (Columbia, 1963);
- Bob Dylan, The times they are a-changin' (Columbia, 1964);
- Bob Dylan, Another side of Bob Dylan (Columbia, 1964);
- Bob Dylan, Bringing it all back home (Columbia, 1965);
- Bob Dylan, Highway 61 Revisted (Columbia, 1965);
- Bob Dylan, Blonde on blonde (Columbia, 1966);
- Bob Dylan, Nashville skyline (Columbia, 1969);
- Bobby Hutcherson, Dialogue (Blue Note, 1965);
- The Bonzo Dog Band, Gorilla (BGO, 1967);
- Booker T. & The MG's, Green onions (Atlantic, 1962);
- Brian Auger & The Trinity, Definitely what!... (Disconforme, 1969);
- Bridget St. John, Ask me no questions (Cherry Red, 1969);
- Buddy Emmons, Steel guitar jazz (Verve/Mercury, 1963);
- Buffalo Springfield, Buffalo Springfield (Atco, 1966);
- Buffalo Springfield, Again (ATCO, 1967);
- The Byrds, Mr. Tambourine Man (Columbia, 1965);
- The Byrds, Turn! Turn! Turn! (Columbia, 1965);
- The Byrds, Fifth dimension (Columbia, 1966);
- The Byrds, Younger than yesterday (Columbia, 1967);
- The Byrds, The notorious Byrd brothers (Columbia, 1968);
- The Byrds, Sweetheart of the rodeo (Columbia, 1968);
- The Byrds, Dr. Byrds and Mr. Hyde (Columbia, 1969);
- The Byrds, Ballad of Easy Rider (Columbia, 1969);
- Can, Monster movie (Spoon, 1969);
- Canned Heat, Boogie with Canned Heat (EMI, 1968);
- Canned Heat, Living the blues (Akarma, 1968);
- Canned Heat, Hallelujah (BGO, 1969);
- Cannonball Adderley Quintet, Mercy, mercy, mercy! Live at The Club (Capitol, 1967);
- Captain Beefheart & His Magic Band, Safe as milk (Buddah, 1967);
- Captain Beefheart & His Magic Band, Strictly personal (Liberty, 1968);
- Captain Beefheart & His Magic Band, Trout mask replica (Reprise, 1969);
- Caravan, Caravan (Verve, 1968);
- Charles Mingus, The black saint and the sinner lady (Impulse!, 1963);
- Charles Mingus, Mingus, Mingus, Mingus, Mingus (Impulse!, 1963);
- Charlie Haden, Liberation Music Orchestra (Impulse! , 1969);
- Chicago, Chicago Transit Authority (Columbia, 1969);
- Chick Corea, Inner space (Atlantic, 1967);
- Chick Corea, Sundance (Charly, 1969);
- Chicken Shack, O.K. Ken? (Blue Horizon, 1969);
- Count Basie/Sarah Vaughan, Count Basie & Sarah Vaughan (Capitol, 1961);
- Clark Hutchinson, A=MH2 (Repertoire, 1969);
- Climax Blues Band, Plays on (C-Five, 1969);
- Clouds, The clouds scrapbook (BGO, 1969);
- Colosseum, Those who are about to die salute you (Fontana, 1969);
- Colosseum, Valentyne Suite (Castle, 1969);
- Cream, Fresh cream (Polydor, 1966);
- Cream, Disraeli gears (Polydor, 1967);
- Cream, Wheels of fire (Polydor, 1968);
- Creation, We are paintermen (Repertoire, 1967);
- Creedence Clearwater Revival, Creedence Clearwater Revival (Fantasy, 1968);
- Crosby, Stills & Nash, Crosby, Stills & Nash (Atlantic, 1969);
- David Ackles, David Ackles (Elektra, 1968);
- David Bowie, Space oddity (EMI, 1969);
- Davy Graham, Folk, blues & beyond... (DECCA, 1964);
- Davy Graham, Midnight man (Fledgling, 1966);
- Davy Graham/Shirley Collins, Folk roots, new routes (Fledg'ling UK, 1964);
- Deep Purple, Shades of Deep Purple (EMI, 1968);
- Deep Purple, Concerto for Group and Orchestra (Warner Bros., 1969);
- Deep Purple, Deep Purple (EMI, 1969);
- Deep Purple, The book of Taliesyn (EMI, 1969);
- Dexter Gordon, Go (Blue Note, 1962);
- Dexter Gordon, Our man in Paris (Blue Note, 1963);
- Dizzy Gillespie, Live at the Village Vanguard (Blue Note, 1967);
- Donald Byrd, A new perspective (Blue Note, 1963);
- Donovan, Sunshine superman (PYE, 1966);
- The Doors, The Doors (Elektra, 1966);
- The Doors, Strange days (Elektra, 1967);
- The Doors, Waiting for the sun (Elektra, 1968);
- The Doors, The soft parade (Elektra, 1969);
- Duke Ellington, Money jungle (Blue Note, 1962);
- Duke Ellington/John Coltrane, Duke Ellington & John Coltrane (Impulse, 1962);
- Duncan Browne, Give me take you (Immidiate, 1968);
- Dusty Springfield, A girl called Dusty (Philips, 1964);
- Dusty Springfield, Dusty (Mercury, 1964);
- Dusty Springfield, Where am I going (Philips, 1967);
- Dusty Springfield, The look of love (Philips, 1967);
- Dusty Springfield, Dusty in Memphis (Mercury, 1969);
- Earth Opera, Earth Opera (Elektra, 1968);
- East of Eden, Mercator projected (DECCA, 1969);
- Eire Apparent, Sunrise (Sequel, 1969);
- The Electric Prunes, I had too much to dream (Last night) (Rhino, 1967);
- Elmer Gantry’s Velvet Opera, Elmer Gantry’s Velvet Opera (Repertoire, 1967);
- The End, Introspection (DECCA, 1969)
- Eric Dolphy, Out there (Universal, 1960);
- Eric Dolphy, Out to lunch (Blue Note, 1964);
- Eyes of Blue, In fields of Ardath (Black Rose, 1969);
- Fairport Convention, Fairport Convention (Polydor, 1968);
- Fairport Convention, What we did on our holidays (Island, 1969);
- Fairport Convention, Unhalfbricking (Island, 1969);
- Fairport Convention, Liege & lief (Island, 1969);
- Family, Music in a doll's house (Reprise, 1968);
- Family, Family entertainment (See for Miles, 1969);
- The Five Day Week Straw People, The Five Day Week Straw People (Akarma, 1968);
- Fleetwood Mac, Peter Green's Fleetwood Mac (Blue Horizon, 1968);
- Fleetwood Mac, Mr.Wonderful (Blue Horizon, 1968);
- Fleetwood Mac, English rose (Epic, 1969);
- Fleetwood Mac, Then play on (Reprise, 1969);
- The Flock, The Flock (Sony, 1969);
- Forest, Forest (BGO, 1969);
- Frank Zappa,, Absolutely free (Ryko, 1967);
- Frank Zappa,, Lumpy gravy (Ryko, 1967);
- Frank Zappa, Uncle Meat (Ryko, 1969);
- Frank Zappa, Hot rats (Ryko, 1969);
- Freddie Hubbard, Open Sesame (Blue Note, 1960);
- Freddie Hubbard, Ready for Freddie (Blue Note, 1961);
- Freddie Hubbard, The body & the soul (Impulse!, 1963);
- Free, Free (A&M, 1969);
- Free, Tons of sobs (Fontana, 1968);
- The Fugs, The Fugs (Fugs, 1966);
- Gene Clark, Gene Clark with The Gosdin Brothers (Columbia, 1967);
- George Benson, It's uptown (Columbia, 1965);
- George Benson, Shape of things to come (A&M, 1968);
- George Benson, Giblet gravy (Verve, 1968);
- George Harrison, Wonderwall music (Apple, 1968);
- George Harrison, Electronic sounds (Apple, 1969);
- George Russell Sextet, Ezz-thetics (Riverside, 1961);
- Giles, Giles & Fripp, The cheerful insanity of Giles, Giles & Fripp (DECCA, 1968);
- Grachan Moncur III, Some other stuff (Blue Note, 1964);
- Grant Green, Idle moments (Blue Note, 1964);
- Grateful Dead, Anthem of the sun (Rhino, 1968);
- Grateful Dead, Aoxomoxoa (Warner, 1969);
- Grateful Dead, Live/Dead (Warner, 1969);
- Hank Mobley, Soul station (Blue Note, 1960);
- Herbie Hancock, Takin' off (Blue Note, 1962);
- Herbie Hancock, Inventions and dimensions (Blue Note, 1963);
- Herbie Hancock, Empyrean isles (Blue Note, 1964);
- Herbie Hancock, Maiden voyage (Blue Note, 1965);
- The Herd, Paradise lost (Repertoire, 1968);
- High Tide, Sea shanties (Repertoire, 1969);
- Holger Czukay, Canaxis (Spoon, 1969);
- Horace Parlan, Happy frame of mind (Blue Note, 1963);
- Horace Silver Quintet, Song for my father (Blue Note, 1964);
- Horace Silver Quintet/J.J. Johnson, The Cap Verdean blues (Blue Note, 1965);
- Humble Pie, As safe as yesterday is (Immediate, 1969);
- Igginbottom, Igginbottom’s wrench (Angel Air, 1969);
- Ike Quebec, Blue and sentimental (Blue Note, 1962);
- Ike Quebec, It might a well be spring (Blue Note, 1964);
- The Incredible String Band, The Incredible String Band (Elektra, 1966);
- The Incredible String Band, 5000 spirits or the cayers of the onion (Elektra, 1967);
- The Incredible String Band, The hangman's beautiful daughter (Elektra, 1968);
- The Incredible String Band, The big huge (Elektra, 1968);
- The Incredible String Band, Changing horses (Hannibal, 1969);
- Iron Butterfly, In-a-gadda-da-vida (Atco, 1968);
- Isaac Hayes, Hot buttered soul (Stax, 1969);
- Jack McDuff, Down home style (Blue Note, 1969);
- Jackie McLean, Destination out! (Blue Note, 1963);
- Jackson C. Frank, Jackson C. Frank (Columbia, 1965);
- Jefferson Airplane, Takes off (RCA, 1966);
- Jefferson Airplane, Surrealistic pillow (RCA, 1967);
- Jefferson Airplane, Crown of creation (RCA, 1968);
- Jefferson Airplane, Volunteers (RCA, 1969);
- Jesse Colin Young, The soul of a city boy (Capitol, 1964);
- Jimi Hendrix Experience, Are you experienced? (Polydor, 1967);
- Jimi Hendrix Experience, Axis, bold as love (Polydor, 1967);
- Jimi Hendrix Experience, Electric ladyland (Polydor, 1968);
- Jimmy McGriff, Electric funk (Blue Note, 1969);
- Jimmy Smith/Wes Montgomery, The dynamic duo (Verve, 1966);
- Joe Henderson, Page one (Blue Note, 1963);
- Joe Henderson, Inner urge (Blue Note, 1964);
- John Coltrane, Giant steps (Atlantic, 1960);
- John Coltrane, Coltrane plays the blues (WEA, 1960);
- John Coltrane, My favorite things (Audiophile, 1960);
- John Coltrane, Africa/Brass (Impulse!, 1961);
- John Coltrane, Olé (Atlantic, 1962);
- John Coltrane, Impressions (Impulse!, 1963);
- John Coltrane, Stardust (Prestige, 1963);
- John Coltrane, A love supreme (Impulse!, 1964);
- John Coltrane, Ascension (Impulse! , 1965);
- John Coltrane, Meditations (Impulse!, 1966);
- John Coltrane, A love supreme (Impulse!, 1966);
- John Coltrane Quartet, Crescent (Impulse!, 1964);
- John Fahey, The dance of death & other plantation favorites (Takoma, 1964);
- John Martyn, The tumbler (Fontana, 1969);
- John Mayall, John Mayall & The Bluesbreakers with Eric Clapton (DECCA, 1966);
- John Mayall, A hard road (London, 1967);
- John Mayall, Crusade (DECCA, 1967);
- John Mayall, The blues alone (DECCA, 1967);
- John Mayall, Bare wires (London, 1968);
- John Mayall, Blues from Laurel Canyon (DECCA, 1968);
- John McLaughlin, Extrapolation (Polygram, 1969);
- Johnny Cash, Ride this train (Columbia, 1960).
- Johnny Cash, Orange blossom special (Columbia, 1965);
- Johnny Cash, Johnny Cash at Folsom prison (Columbia, 1968);
- Johnny Winter, The progressive blues experiment (BGO, 1969);
- Joni Mitchell, Song to a seagull (Reprise, 1968);
- Joni Mitchell, Clouds (Reprise, 1969);
- José Afonso, Cantares de andarilho (Movieplay, 1968);
- Kaleidoscope, Side trips (Epic, 1967);
- Karen Dalton, It's so hard to tell who's going to love you the best (Capitol, 1969);
- Kenny Burrell, Midnight blue (Blue Note, 1963);
- Kenny Dorham, Whistle stop (Blue Note, 1961);
- Kevin Ayers, Joy of a toy (EMI, 1969);
- King Crimson, In the court of the crimson king (EG, 1969);
- The Kinks, Face to face (Essential, 1966);
- The Kinks, Something else (Essential, 1967);
- The Kinks, The Kinks are Village Green Preservation Society (Essential, 1968);
- The Kinks, Arthur or the decline and fall of the british empire (Essential, 1969);
- La Monte Young, The black record (Edition X, 1969);
- Larry Young, Unity (Blue Note, 1966);
- Laura Nyro, Eli and the thirteenth confession (Columbia, 1968);
- Laura Nyro, New York tendaberry (Columbia, 1969);
- Led Zeppelin, Led Zeppelin (Atlantic, 1969);
- Led Zeppelin, Led Zeppelin II (Atlantic, 1969);
- Lee Morgan, The sidewinder (Blue Note, 1963);
- Lee Morgan, In search of the new land (Blue Note, 1964);
- Leonard Cohen, Songs of Leonard Cohen (Columbia, 1968);
- Leonard Cohen, Songs from a room (Columbia, 1969);
- Love, Da Capo (Elektra, 1966);
- Love, Forever changes (Elektra, 1967);
- The Lovin' Spoonful, Daydream (Buddah, 1966);
- The Lovin' Spoonful, Hums of the Lovin’ Spoonful (Buddah, 1966);
- Lucky Thompson Quartet, Lucky strikes (Prestige, 1964);
- Luiz Bonfá, Plays and sings Bossa Nova (Verve, 1963);
- The Mamas & The Papas, If you can believe your eyes and ears (Dunhill, 1966);
- Manfred Mann, The five faces of Manfred Mann (EMI, 1964);
- The Meters, The Meters (Sundazed, 1969);
- Miles Davis, Someday my prince will come (Columbia, 1961);
- Miles Davis, ’Round about midnight (Columbia, 1962);
- Miles Davis, E.S.P. (Columbia, 1965);
- Miles Davis, Miles smiles (Columbia, 1966);
- Miles Davis, In Berlin (Sony BMG, 1966);
- Miles Davis, Filles de Kilimanjaro (Columbia, 1968);
- Miles Davis, Nefertiti (Columbia, 1968);
- Miles Davis, In a silent way (Columbia, 1969);
- Moby Grape, Moby Grape (Sundazed, 1967);
- The Monks, Black monk time (Repertoire, 1966);
- The Moody Blues, Days of future passed (DECCA, 1967);
- The Moody Blues, In search of the lost chord (DECCA, 1968);
- The Moody Blues, To our children's children's children (DECCA, 1969);
- The Mothers of Invention, Freak out! (Rykodisc, 1966);
- The Mothers of Invention, We're only in it for the money (Verve, 1968);
- The Move, The Move (Repertoire, 1968);
- Music Emporium, Music Emporium (Sundazed, 1969);
- The Music Machine, Turn on (Repertoire, 1966);
- Os Mutantes, Os Mutantes (Omplatten, 1969);
- Nazz, Nazz (Castle, 1968);
- Neil Young & Crazy Horse, Everybody knows this is nowhere (Reprise, 1969);
- The Nice, The thoughts of Emerlist Davjack (Immediate, 1967);
- The Nice, Ars longa vita brevis (Immediate, 1968);
- The Nice, The Nice (Essential, 1969);
- Nick Drake, Five leaves left (Island, 1969);
- Nico, Chelsea girl (Verve, 1967);
- Nico, The marble index (Sundazed, 1968);
- Nirvana (UK), All of us (Island, 1968);
- Open Mind, Open Mind (Philips, 1969);
- Ornette Coleman Double Quartet, Free jazz (Atlantic, 1961);
- Oscar Peterson Trio, Night train (Verve, 1962);
- Otis Redding, The soul album (Stax/Volt, 1966);
- Otis Redding, Dock of the bay (Atco, 1968);
- Paul Desmond, Bossa Antigua (BMG, 1964);
- Pearls Before Swine, One nation underground (ESP-Disk, 1967);
- The Pentangle, Basket of light (Sanctuary, 1969);
- The Pentangle, The Pentangle (Transatlantic, 1968);
- The Pentangle, Sweet child (Transatlantic, 1968);
- Peter, Paul & Mary, See what tomorrow brings (Warner Bros. , 1965);
- Pharoah Sanders, Karma (Impulse! , 1969);
- Pierre Henry, Le voyage, d'après le livre des morts tibétain (ECM, 1962);
- Pierre Henry, Messe de Liverpool (Philips, 1967);
- Pierre Henry, Messe pour le temps présent (Philips, 1967);
- Pink Floyd, The piper at the gates of dawn (EMI, 1967);
- Pink Floyd, A saucerful of secrets (EMI, 1968);
- Pink Floyd, More (EMI, 1969);
- Pink Floyd, Ummagumma (EMI, 1969);
- The Pretty Things, S.F. Sorrow (Snapper, 1969);
- Procol Harum, A whiter shade of pale (Repertoire, 1967);
- Procol Harum, Shine on brightly (Repertoire, 1968);
- Procol Harum, A salty dog (Repertoire, 1968);
- Pussy, Pussy plays (Edsel, 1969);
- Quicksilver Messenger Service, Happy trails (Repertoire, 1969);
- Ravi Shankar/Yehudi Menuhin, West meets east (Angel, 1967);
- Renaissance, Renaissance (Island, 1969);
- Robert Johnson, King of the delta blues singers (Columbia, 1961);
- The Rolling Stones, The Rolling Stones (England's newest hitmakers) (Abkco, 1964);
- The Rolling Stones, 12 X 5 (London Records, 1964);
- The Rolling Stones, The Rolling Stones N°2 (DECCA, 1965);
- The Rolling Stones, Now! (Abkco, 1965);
- The Rolling Stones, Out of our heads (Abkco, 1965);
- The Rolling Stones, December's Children (And everybody's) (London Records, 1965);
- The Rolling Stones, Aftermath (DECCA, 1966);
- The Rolling Stones, Between the buttons (Abkco, 1967);
- The Rolling Stones, Their satanic majesties request (Abkco, 1967);
- The Rolling Stones, Beggars banquet (DECCA, 1968);
- The Rolling Stones, Let it bleed (Abkco, 1969);
- Roy Harper, Sophisticated beggar (Sundown, 1967);
- Sam Rivers, Contours (Blue Note, 1965);
- The Savage Rose, In the plain (Polydor, 1969);
- Scott Walker, Scott (Fontana, 1967);
- Scott Walker, Scott 2 (Fontana, 1968);
- Scott Walker, Scott 3 (Fontana, 1969);
- Scott Walker, Scott 4 (Fontana, 1969);
- Silver Apples, Silver Apples (MCA, 1968);
- Simon & Garfunkel, Sounds of silence (Columbia, 1966);
- Simon & Garfunkel, Parsley, sage, rosemary and thyme (Columbia, 1966);
- Simon & Garfunkel, Bookends (Columbia, 1968);
- Skin Alley, Skin Alley (Akarma, 1969);
- Sonny Rollins, The bridge (RCA, 1962);
- The Small Faces, The Small Faces (DECCA, 1966);
- The Small Faces, From the beginning (DECCA, 1967);
- The Small Faces, Ogden's nut gone flake (EMI, 1968);
- Smokey Robinson and the Miracles, Make it happen (Motown, 1963);
- Soft Machine, Soft Machine (Probe, 1968);
- Soft Machine, Volume Two (One Way, 1969);
- Spirit, Spirit (Epic Legacy, 1968);
- Spirit, The family that plays together (Ode, 1969);
- Spooky Tooth, It's all about (Edsel, 1968);
- Spooky Tooth/Pierre Henry, Ceremony, An electronic mass (Edsel, 1969);
- Stan Getz, Getz Au Go Go (Verve, 1964);
- Stan Getz/João Gilberto, Getz/Gilberto (Verve, 1963);
- Status Quo, Picturesque matchstickable messages from the Status Quo (Essential, 1968);
- Status Quo, Spare parts (Sanctuary, 1968);
- Steve Miller Band, Children of the future (Capitol, 1968);
- Steve Miller Band, Sailor (Capitol, 1968);
- Stevie Wonder, For once in my life (Tamla Motown, 1968);
- Stevie Wonder, My cherie amour (Tamla Motown, 1969);
- The Stooges, The Stooges (WEA, 1969);
- Strawberry Alarm Clock, Incense and peppermints (Big Beat, 1967);
- Tea & Symphony, An asylum for the musically insane (Si-Wan, 1969);
- The Temptations, Cloud nine (Tamla Motown, 1969);
- Terry Riley, Reed streams (Mass Arts, 1966);
- Terry Riley, A rainbow in curved air (Columbia, 1967);
- Thelonious Monk, Monk's dream (Columbia, 1962);
- Thelonious Monk, Big band and quartet in concert (Columbia, 1964);
- Thelonious Monk, Straight, no chaser (Columbia, 1967);
- Thelonious Monk, Underground (Columbia, 1968);
- Them, The angry young Them (DECCA, 1965);
- Them, Them again (DECCA, 1966);
- Tim Buckley, Tim Buckley (Elektra, 1966);
- Tim Buckley, Goodbye and hello (Elektra, 1967);
- Tim Buckley, Happy sad (Elektra, 1969);
- Tim Hardin, 1 (Verve, 1966);
- Tina Brooks, True blue (Blue Note, 1960);
- Tom Rush, Circle game (Elektra, 1968);
- Townes Van Zandt, Our mother the mountain (Tomato, 1969);
- Townes Van Zandt, Townes van Zandt (Tomato, 1969);
- Traffic, Mr Fantasy (Island, 1967);
- Traffic, Last exit (Fontana, 1969);
- Tyrannosaurus Rex, My people were Fair and had sky in their hair... (A&M, 1967);
- Tyrannosaurus Rex, Prophets, seers & sages, the angels of the ages (A&M, 1968);
- Tyrannosaurus Rex, Unicorn (A&M, 1969);
- Ultimate Spinach, Ultimate Spinach (Akarma, 1968);
- Ultimate Spinach, Behold & see (Akarma, 1968);
- Ultimate Spinach, Ultimate Spinach III (Akarma, 1969);
- The United States of America, The United States of America (Edsel, 1968);
- Van der Graaf Generator, The aerosol grey machine (Fontana, 1969);
- Van der Graaf Generator, The least we can do is wave to each other (Virgin, 1969);
- Van Morrison, Blowin' your mind! (Epic/Legacy, 1967);
- Van Morrison, Astral weeks (Warner Bros. , 1968);
- Vanilla Fudge, Vanilla Fudge (Atco, 1967);
- Vanilla Fudge, Near the beginning (Repertoire, 1969);
- The Velvet Underground, White light/White heat (Polydor, 1968);
- The Velvet Underground, The Velvet Underground (Polydor, 1969);
- The Velvet Underground/Nico, The Velvet Underground & Nico (Verve/MGM, 1967);
- Wayne Shorter, Speak no evil (Blue Note, 1964);
- Wayne Shorter, Schizophrenia (Blue Notev);
- White Noise, An electric storm (Island, 1969);
- The Who, My generation (Brunswick, 1965);
- The Who, A quick one (Reaction, 1966);
- The Who, The Who sell out (MCA, 1967);
- The Who, Tommy (Polydor, 1969);
- Wooden O, A handful of pleasant delites (Akarma, 1969).
- Xhol Caravan, Electrip (Garden of Delights, 1969);
- The Yardbirds, For your love, heart full of soul & others (Sunspots, 1965);
- The Yardbirds, Roger the engineer (Warner Bros., 1966);
- The Yardbirds, Little games (EMI, 1967);
- Yes, Yes (Atlantic, 1969);
- The Youngbloods, Elephant Mountain (Edsel, 1969);
- The Zombies, Odessey & oracle (Repertoire, 1967).

Bu unutulmaya yüz tutmuş leziz Woody Shaw bestesi; Larry Young, Joe Henderson ve Elvin Jones eklendiğinde bambaşka tat veriyormuş.

Eric Dolphy, Charles Mingus ve Tom Scott ile geçti gitti yaz tatilim, halbuki Sun Ra - Lanquidity'yi dinleyecektim, onu da öğleye doğru uyanınca dinleyerek avant-garde denemelerim için biraz yardımcı olacağını umuyorum.

Aslında caz, cuz vs. bir yana,

CUMA GELSİN!!

Space Oddities mixed by robot koch

1. Xecutioners - get started
2. Linda Perhacs - parralelograms
3. robot koch - memories
4. robot kochj vs Cerebral Vortex - aftershocks (Flako remix)
5. Mono/Poly - ground beef
6. Ali Farka - unkown
7. Mugison - murr murr
8. Slicker - god bless this mess, this test we pass
9. Caribou vs Rqm - pelican narrows/the world is a mixtape
10. Prefuse 73 - mud in your mouth
11. chockrock - buzz
12. caribou - lord leopard
13. Indelible MCs - weight
14. Buddy Leezle - the luv (Hudson Mohawke remix)
15. Duktus - C64 gschizzle
16. Kalbata - we ninja
17. Joe Henderson - earth
18. Jahcoozi - watching you (Plastic Little remix)
19. robot koch - heaven is my real estate

Download here

<werbel>

Oświadczam wszem i wobec, ze z dniem dzisiejszym ruszył mój w pełni amatorski internetowy dziennik (żeby nie powiedzieć "blog") o tematyce muzycznej. W skrócie pisząc - tam będę się ekscytował wszystkim tym, co zachwyci moje szanowne uszy ;).

http://woparachdzwienku.wordpress.com/

Obecnie jest skromnie, ale mam nadzieję, że wkrótce się to zmieni.



Tagi:
Frank ZappaThe Lounge LizardsElectric MasadaArt Ensemble of ChicagoCharles MingusJohn ZornRuinsJohn LurieNaked CityMarc RibotFred FrithOrnette ColemanMoondogPharoah SandersJoe HendersonMr. BungleBill LaswellAnthony BraxtonRobotobibokPink FreudSleepytime Gorilla MuseumMiłośćWadada Leo SmithRaz, Dwa, TrzyBuena Vista Social ClubSmoke CityDerek BaileySing Sing PenelopeTomasz StańkoKrzysztof KomedaHerbie HancockWayne ShorterLeszek Możdżer

A friend did a similar thing and although I wanted to do the same, I realized there was a problem: not very many people would be familiar with my music. Thus listing off the top x albums as my favorite would be silly. So I explained each. Sometimes to a general audience, and sometimes to a more familiar audience.
These are listed in no particular order (not entirely true - I listed off some as they came to mind, but generally went through my music alphabetically so as to not miss anything). There are many great albums out there that I love that I haven't included.
Oh, and I guess if I tagged you you're all supposed to do the same, or something.

A Tribute to Jack Johnson (Miles Davis): Miles Davis once claimed that he could create "the greatest rock band you ever heard." Miles Davis was a lot of [ridiculous] things, but he was never frivolous [as can be easily seen by the style he matured into]. Obviously, questions like this will never be settled, but if he did do it, it was this album, and not undeserving either. This will make casual jazz listeners question what they think of both jazz and rock as genres - separate, and fused.

Kind of Blue (Miles Davis): I could probably include nearly every Miles album I have, but I guess that defeats the purpose. I can't say how many times I've listened to this - in a row. Probably the most precise jazz album I've ever heard, strange because it is both the most revolutionary [arguably] and one of the most open as well. Yet every note is where it should be.

Just Feelin' (McCoy Tyner): McCoy Tyner in a comfortable setting in a trio. Certainly not his most technical work, but for some reason, the song Manha De Carnaval moved me almost immediately like nothing I've heard before - enough to make the list. I'm not entirely sure why, but this is one I won't be forgetting any time soon.

Cats (Andrew Lloyd Webber): To be fair, I deserve at least one guilty pleasure. And if so, then this is it. The concept of the show is fantastic, but it's the music that, every time I hear it, I concoct ridiculous plans to put it on here at school. It's fun, serious, blah blah, all the things a musical should have, it has. But just right, not too much either.

Carnegie Hall 1938 (Benny Goodman): Perhaps I'm just trying to be elitist, but this concert was really good. I mean, really. Regardless of the hurdles and challenges they faced to pull it off, it's a swinging show.

Keep the Customer Satisfied (Buddy Rich): This is what swing is all about. Buddy Rich drives the band and the audience through the wall. Nothing else by him has come close.

Paris Jazz Concert (Cannonball Adderley): Cannonball, his brother, and Joe Zawinul have all never sounded better. It's energetic, and let Cannonball open up. Plus I'm particularly weak for Mercy, Mercy, Mercy.

The Enchantment (Chick Corea & Béla Fleck): Yes, I saw this live, but the melodious nature of the compositions is so fresh and relaxing. It's not in your face, but then again, that's hard without a drummer or a bass. In fact, much of anything is hard without a drummer or a bass, but they pull this one off. Perhaps a bit too well - the studio nature and obvious rehearsal time would be the only drawbacks, but if you listen to the notes played, the rest won't matter.

Count Basie at Newport: The energy is not only unmistakable, but massively transforming. Not that Basie's band lacks anything in studio recordings per-se, their precision performance is plenty for me, but they don't even lose any of that in front of a wild audience.

The Complete Atomic Basie: Perhaps to contrast Basie at Newport, this time they play the songs as they're meant to be. Not that Newport was incorrect, but the Atomic Basie is almost like a library - a guide, no the guide, on how to play the Basie standards. A title like that isn't given lightly.

The Far East Suite (Duke Ellington): There are obviously a lot of choices for Duke, but I decided to go with something outside the standard repertoire. While maintaining the same band as always, Duke manages to still send us to places we've never been. There are, perhaps, better choices for his writing, but nothing better for his arranging. And an entire album of it makes it a truly impressive work.

Red Clay (Freddie Hubbard): I have some other earlier Freddie Hubbard that establishes him as a solid player, but Red Clay puts him above the rest. Not only does Freddie play fabulously, the band is no sideshow. Joe Henderson does an impressive job, but Stanley Turrentine on the live take of the title track is phenomenal. Not to mention Herbie Hancock plays the set so comfortably.

Song For My Father (Horace Silver): Joe Henderson just keeps showing up, and he almost steals the show here and would have, had it been with anyone other than Horace Silver.

Giant Steps (John Coltrane): Yes giant steps. For anyone who has played the title track, they know that it's hard. But almost more importantly than that, the chords are brilliant. Moving through flatted fifth progressions creates a tonality that is simply unmistakable, as are all the tracks. Moreover, his solos promptly polarized saxophones and general jazz followers alike. The so-called "vertical" style of soloing is, new. But jazz is about more than new, it still has to sound good and he does that first. The reason for his vertical solos is, I feel, connected back to the chords themselves. Moving linearly or "horizontally" across them, particularly at the speed he played it at would be a muddled mess no matter who's horn it comes out of.

A Love Supreme (John Coltrane): This was the first album I ever purchased so it obviously hold a special place in my collection. I had a project for English class and chose a poet to write about because in the one sentence description about him, it said he wrote about jazz, and I had figured out that much about myself thus far, so I decided to choose him. One of the poems was an ode to Coltrane focusing on this album. I figured I ought to give it a listen. And listen I did. And listen I do. This is one of those albums that when I hear alternate takes put together in a hodgepodge format elsewhere, or even the final takes, I skip them. I can't listen them without listening to the whole thing. The progression from section to section is essential in this massive single work. While there are perhaps other albums I might like to place here (notably Blue Train), I feel that these two present Coltrane expertly well.

Live at the Monterey Jazz Festival (John Handy): I know nothing about the artist or the even [I'm not even sure where the album turned up from] and two long tracks of extended open soloing wouldn't have been my thing in most cases. But John Handy pulls it off. Rather, he blows it away in every sense. It includes exceptional work by the whole band (I recall the bass in particular) but his solos are what I listen to when I feel I need more passion - more individualism, infused in my own work.

The Koln Concert (Keith Jarrett): It may be cliche, and I could probably select another Keith Jarrett album as well (I won't) but I have honestly never seen, heard, or experienced in any way anything like this. Had someone told me before hand the names of the songs and the composers, this concert would have still made the list. My mind is blown every time I hear it.

Thelonious Monk with John Coltrane: Older and generally less popular than the "recently discovered" work between the two, I also feel better. While recorded in the studio as opposed to live (and at Carnegie Hall at that), as far as I can tell, Coltrane wouldn't really know the difference. Miles once said that a woman could start dancing in front of him while soloing and the rest of the band would stop, but Trane would keep on playing none the wiser. On Monk, I feel the work is incredibly inventive and declarative - especially considering how early it was.

Notable Exceptions:
Charlie Parker - Obviously one of the greatest alto players ever, his short life hindered his potential tremendously. I have yet to find an album of him that, I feel, really showcases his work. I certainly have some nice songs, but nothing cohesive yet.
Oscar Peterson - I love Oscar Peterson, I just haven't found THE Oscar Peterson album. If anyone has any suggestions, please let me know.

The idea is to go to the page of your number one artist, and follow the link of it's number one similar artist, then repeating that for this artist and so on, noting down each artist as you go. Do this until you've got to 50 artists (not including your number one). If you get any repeats, just go to the second similar artist or the nearest one that you haven't already had.

Starting with Ścianka:

1. Something Like Elvis
2. Ewa Braun
3. Mordy
4. Ludzie
5. 100nka
6. Sing Sing Penelope
7. Jerzy Milian
8. Wojciech Karolak
9. Jarek Śmietana
10. chromosomos
11. Novi Singers
12. Andrzej Kurylewicz Quintet
13. Zbigniew Namysłowski
14. Jan Ptaszyn Wróblewski
15. Przemek Dyakowski
16. Oles-Trzaska-Oles
17. Miłość & Lester Bowie
18. Miłość
19. Tymon i Trupy
20. Czan
21. NRD
22. Mikołaj Trzaska
23. Baaba
24. Maestro Trytony
25. ecstasy project trio
26. Simple Acoustic Trio
27. Bobo Stenson Trio
28. Arild Andersen
29. Jan Garbarek Group
30. Jan Garbarek
31. Terje Rypdal
32. Keith Jarrett
33. Keith Jarrett Trio
34. Bill Evans
35. Bill Evans Trio
36. Bud Powell
37. Sonny Clark
38. Hank Mobley
39. Dexter Gordon
40. Joe Henderson
41. Freddie Hubbard
42. Lee Morgan
43. Horace Silver
44. Donald Byrd
45. Bobbi Humphrey
46. Bobby Hutcherson
47. Duke Pearson
48. Horace Parlan
49. McCoy Tyner
50. Wayne Shorter

Interesting... I started from experimental alternative band, then I got through some alternative jazz bands, then some Polish jazz musicians, Tymon Tymanski's many projects, Norwegian modern jazz musicians to end on American classic jazz.

Whew... That was an intriguing trip since I don't listen to jazz music a lot. Only to nu-jazz or Polish yass bands and I don't listen to classic jazz at all. Maybe I should. :-)

Quoth zorzynek:
McCoy Tyner live was one of the best things that happened to me in past few years. I see You're heavily listening to that guy. I never got into his discography. Any ideas what should I check out first? (Of course, I know his recordings with Trane, it's solo records I'm interested in.) Thanks in advance.


I'll divide Tyner's magnificent career as a leader into four phases:

1. 
   
2. Tyner as a leader while still in the Coltrane Quartet
   
3. Tyner on Blue Note after the Coltrane Quartet
   
4. Tyner on Milestone 1972-1981
   
5. Tyner after Milestone/1981 onward
   

Tyner's albums on Impulse! are more tentative but also more lyrical and romantic than his middle period recordings. He is still in the Trane quartet at this time and so is not as assertive as he would be as he matured--but he was still in his early 20s at the time, so it is understandable.

Reaching Fourth is probably my favorite of that period, a trio setting--something he wouldn't record again for another dozen years or so--and it is lovely. The other Impulse! recordings are all good (and Tyner's good is better than many pianist's 'excellent'); Inception is a really nice debut for the young McCoy Tyner. Nights of Ballads and Blues has an intriguing lineup, and we're left to wonder what this band may have put together over time, but John Gilmore took a lot of "outside" jobs in the late 50s/early 60s, not only because he was a cited influence on many of the post-WWII tenors and thus producers wanted to work with him, but also because the Sun Ra band was in transisiton, and I think Gilmore's talents helped bring cash into the Arkestra's coffers. But I go back to Inception and Reaching Fourth more than the others from this period.

The second period was after leaving Coltrane. Although McCoy played on many, many Blue Note records from 1960 onward--considered by many as one of the Blue Note "house" pianists--there is a curious gap in Tyner's discography as a leader. His last Impulse! record was in 1964, Although he was considered one of the house pianists at Blue Note from 1960 on, his first Blue Note as a leader was 1967's The Real McCoy. From 1960 through 1970, he played piano on albums by Joe Henderson, Lee Morgan, Wayne Shorter, Bobby Hutcherson, Grant Green, Lou Donaldson, Donald Byrd, Hank Mobley, and Stanley Turrentine, to name just a few. Tyner's "sound" helped define what many of us think of as the Blue Note sound of the 60s. There may have been a contract problem with Impulse! that prevented him from being employed as the leader on Blue Note until 1967, but in any case, Wolff & Lion used a collegial structure so that Tyner's "Real Mccoy" sounds a lot like Henderson's, Shorter's, or Hubbard's dates. McCoy was still growing as a composer and a leader. Biographers say that this was a time of struggle for Tyner--he wasn't making much money from recording and had a young and growing family to support. By 1970, he was considering making driving a cab his full time work instead of just using it to supplement his music.

But during that time, he recorded Expansions, Time for Tyner, Extensions, and Asante. Each one of them has its strengths, Expansions and Extensions are similar to each other in that Tyner uses Gary Bartz and Wayne Shorter on alto & tenor respectively. Extensions, with its national Geographic cover, adds Alice Coltrane on harp. Throughout his Blue Note career, it sounds as if Tyner is trying to remember, recreate and expand on the high points of the modal art of the Coltrane legacy. This is not a bad thing at all, and the music stands the test of time well.

But in 1972, Tyner was encouraged by Orrin Keepnews to put his all into reviving his recording career. They began their association with the astounding Sahara, and for the next ten years, the two of them, both geniuses in my opinion, shifted the band's personnel, the size and timbre of the band, here focusing on a tight ensemble, there on a big band, with a solo here, and strings there.

There's hardly ever a false step taken on any of these. And with Milestone, Tyner's percussive left hand (and he is left handed) takes center stage and becomes a driving force. Critics of Tyner point to albums like Song for My Lady and Sahara as evidence that he "plays too many notes." Takes all kinds, I guess. I love this period. Sama Layuca is a rumble in the jungle, Song for the New World shows Tyner's orchestral conception of the jazz big band.

I saw Tyner many, many times from 1972-1980, including one memorable night from the Enlightenment/Atlantis era when we sat just above Tyner and his keyboard at the old Jazz Showcase when it was in the basement level of the Happy Medium nightclub on Rush Street in Chicago. Tyner held a running banter with us the whole night, clearly enjoying being on top of his game. Azar Lawrence and Ricky Ford were two of his usual saxes during this time, and it's always been a disappointment to me that neither of these horns ever achieved a fraction of the fame they seemed destined for.

I've got most all of the Blue Note and Milestone recordings up through 1978's The Greeting. Top of the pack of the Milestones are:

1. 
   
2. Sahara
   
3. Sama Layuca
   
4. Enlightenment
   
5. Focal Point
   
6. Echoes Of A Friend
   
7. Song for the New World
   
8. The Greeting
   
9. Atlantis
   
10. Song for My Lady
    

and yet, others like Fly With The Wind, Horizon, Passion Dance or 13th House are hardly a half-step off any of these. I'm prejudiced more in favor of the ones I've heard over and over. I've never been disappointed with any of those 1978-1982 Milestone recordings either.

In 1982, Tyner's contract with Milestone expired and he by then he was recognized as one of the finest musicians alive and one with an enviable and lengthy discography. he joined Columbia for a while, but the recording business itself was in flux. He's recorded for a number of labels in a variety of contexts after 1982. I'm not as familiar with a lot of this work--I bought several, but I never warmed to Alex Blake's bass work. He's a fine bassist, but there's something in the sound of his amplified pick up that's never struck my ears just right, and so I avoided Tyner's recordings after that time.

I've seen him a handful of times since 1980, and he clearly has earned his elder statesman reputation and his playing is still epic. I can't advise on recordings after 13th House, but I am sure there are many that are first rate. For me, Tyner's prime recordings outside of Coltrane's band are on the (seemingly hundreds of) Blue Note recordings where he is either a leader of a sideman, and then the peak is on the Milestone records produced by Keepnews, arranged and directed by Tyner.

Take the 50 top artists in your musical profile, and create a cloud of the similar artists that are not in your top 50. The result is a collection of highly recommended artists for your personal profile. You can generate your own cloud (in BBCode) at http://anthony.liekens.net/pub/scripts/last.fm/recommend.php

My recommendations are

4hero Alice Russell Art Blakey Art Blakey & The Jazz Messengers Art Pepper Beanfield Boozoo Bajou Charles Mingus Charlie Parker Chick Corea DJ Food De-Phazz Dexter Gordon Dizzy Gillespie Eric Dolphy Fila Brazillia Freddie Hubbard Funki Porcini Hank Mobley Horace Silver Jaylib Jazzanova Joe Henderson Joshua Redman Koop Kyoto Jazz Massive Lee Morgan McCoy Tyner Micatone Miles Davis Quintet Minus 8 Mo' Horizons Moodorama Mr. Scruff Nicola Conte Ornette Coleman Parov Stelar Red Snapper Skalpel St. Germain Stan Getz The Quantic Soul Orchestra Thievery Corporation Tosca Trüby Trio United Future Organization Up, Bustle and Out Weather Report Wes Montgomery Yonderboi